you're going to calm down and listen to the notes." And so "O namenlose Freude."' instead of being the usual des- perate scramble for and soprano, is the most painstakingly articulated num- ber in the . The performance's high point -which in many readings tends to occur with Florestan's melodramatic sal- vation and the arrival of Fernando, or even with the Leonore No. 3 -is saved for the finale. which is as broad and grand as one will ever hear it. It takes time for this sort of approach to sink in, and many listeners may not have the patience to sit through such a deliberately paced performance very often. The soloists work beautifully with the conductor. Sena Jurinac, who was the Marzelline of the old Furtwängler set, is a persuasive. womanly Leonore. She is not a dramatic soprano of the Flagstad or Nilsson type. and wisely chooses to convey the heroine's courage and faith with musical and vocal directness. Her phrasing is almost ideal. the quality of her voice firm and round. She hasn't quite the resources for the most im- perious "Ahscheulicher" -but neither do her competitors on the other complete recordings. Maria Stader is a splendid For , in : cast, conductor, and recording staff. Marzelline, bright but full and never coy; she is given plenty of room to breathe a lovely thing styles for the composer's early, middle, BEETHOVEN: Fidelio in her aria, and makes can dull the listener's per- of it. and late music in his recorded ception of what the pianist is actually Sena Jurinac (s), Leonore; Maria Stader Jan Peerce turns best (s), Marzelline; Jan Peerce (t), Flores - work in many a year with a surprisingly doing. fine Florestan. I prefer Torsten Ralf's It is obvious in this recording that the tan; Murray Dickie (t), Jacquino; Gustav rocklike work in Neidlinger (b), Pizarro; Deszo Ernster really superb work on the Böhm record- Sonata -a powerful, Peerce brings vocal freshness two movements which lies between the (bs), Rocco; Frederick Guthrie (bs), ing; but Waldstein re- Don Fernando. Chorus and Orchestra and interpretative dignity to the role, and Appassionata and the -has surmounts the viciously difficult solo ceived an extraordinarily strong state- of the , Hans Knap- with cond. scene with admirable poise. Neidlinger ment. Only after some comparison pertsbusch, we versions, however, does it become WESTMINSTER XWN 3318. Three LP. seems to me a bit wrong -certainly other want a Pizarro whose voice moves, rather clear that Richter has given us the most $14.94. music since the WESTMINSTER WST 318. Three SD. than one who produces only wooden, potent account of this sound above the staff. especially Schnabel edition. That alone ought to $17.94. hollow the present album, but in view of the fact that Knappertsbusch's be the making of pacing demands that the singer sustain we have still the Concerto to deal with. Whether one will or won't take to West- tones longer than usual. I suppose the On first hearing this work, I was minster's new Fidelio, which marks that sound and such aberra- company's welcome return to operatic idea is that the "Ha, x'elch'cui Augen- troubled by the blick" will crush us with sheer weight, tions as an opening C sharp in place of a recording, depends almost entirely on tape edition how one reacts to the concept of the but instead it stands almost still. Neid- C. I now have a copy of the dark and ringing below and this stays on pitch. It also provides work so compellingly projected by Hans linger sounds sonorities. Knappertsbusch. I should like to empha- middle C, however. and contributes a a superior quality of ensemble characterization. The veteran Even the first impression of the Con- size that my own first feelings are by no convincing will take a number of basso Deszo Ernster hasn't the person- certo, however, is that of an exceptional means definite -it bear- but here too playing playings, I am sure, to "set" my attitude ality to make Rocco's "Gold Song" solo performance, in but he an alternate ver- towards this rendition -and I will try to able (a tough trick any case), this recording against has precisely the right vocal quality for sion serves to pinpoint misconceptions. content myself here with a description the opening of the effect. together with the most ten- the role -black and just slightly ill -de- For example, on the basis of with an enviable ease. phrases one's natural assumption is that tative of conclusions. fined -and sings thing to say about It is a blessed relief to hear again a true in the Largo movement the recent The most obvious his in- slower. Not so. the Knappertsbusch reading is that it is bass who is not ashamed to use Fleisher set is much some lyric purpose. Murray takes a faster tempo in the open- slow. Moreover, the faster sections are strument to Richter is a top- drawer Jacquino, but the ing phrases (thereby giving them some- slow in proportion to the rest of the Dickie but the stop work; that is, Knappertsbusch has, it Don Fernando of Frederick Guthrie is what greater continuity), however laudable from a watch shows his performance to be only would seem. deliberately put a rein on sadly weak, faster than things just where we expect them to pick stylistic standpoint. The chorus is really about forty -five seconds two good soloists for Fleisher's over -all. Similarly in the finale, up. Thus, though Florestan's aria "In excellent (including first seems to be playing des Lebens Friilingstagen" is taken only the Prisoners' Chorus), and the orchestra, when Richter though it may not be a great one, re- in more of a "middle period" manner slightly more broadly than is the custom. American. it turns out the duet "O namenlose Freude" is sung sponds to Knappertsbusch with some than the young splendidly warm, pliant playing. that Richter's is actually the lighter and so much more slowly than usual that the more in proportions we have taken for granted The stereo staging is thorough and more playful account. the one splashy, but no keeping with the Allegro scherzando are seriously altered. Of course. when most convincing- nothing the composer. Further, al- we speak of "custom" we are guilty of opportunity missed. either. The dialogue marking of been assigned to a sepa- though Fleisher has a closer microphone sloppy terminology. One of the nice has apparently is things about Fidelio is that it attracts the rate cast of actors; this works well enough pickup than Richter was given, it the whose whose regis- attention of the greatest conductors; except in the case of Peerce, Russian pianist personality as to be instantly ters more forcefully in the end. It is a among those who have already recorded timbre is so individual that puts the the work are Toscanini, Furtwängler, recognizable. There is nothing to com- warm, outgoing personality sound, which is clear and necessary brio in the opening movement Böhm, and Fricsay, with Klemperer in plain of in the the Beetho- the offing impressive line -up of deep. All told. an imposing presentation and makes one ask whether -an unique concept of a 15 be less of a titan maestros. each of them having definite of this conductor's ven of Op. should the set is than that of Op. 73. (Young titans are and individual things to say about the troublesome masterpiece; walk on tiptoe.) score. But none has proportioned the thoroughly competitive with the other titans too. They do not versions. C.L.O. In short, the more I hear of this rec- work in the Knappertsbusch fashion, as available ord, the more I am convinced that it is if to say, "Now I'm laying it all out for one we are fortunate to possess. R.C.M. you -and when the big moments come, Continued on page 66

64 HIGH FIDELITY MAGAZINE